Frank Bowling

Collection of William N. Copley, New York (acquired directly from the artist)
Thence by descent to the present owners

This work is in good condition overall. There is evidence of wear and handling along the edges including rubbing and pigment loss most notably at the top left corner and along the top edge. Under close inspection, scattered surface abrasions, pinpoint media accretions and pinpoint losses are visible throughout with some rubbing visible in the upper left quadrant. Under very close inspection, the lower white-painted area appears to be lightly soiled with some visible handling marks and scuffs as well as indentations to the sides and protrusions at the edges. Under Ultraviolet light inspection, several areas in the white bottom of the canvas, most notably in the center, fluoresce darkly and appear to have benefitted from light retouching. Unframed. Please note the auction begins at 9:30 am on November 17th.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"The idea of integrating screen-printed images derived from photography into paintings was in the air, as was the use of photography generally. Bowling had visited New York in 1961 and again in 1962, and he was well aware of the excitement growing around Andy Warhol and the emergence of American pop art, though he was never greatly interested in it. At Camberwell sometime in 1964, not yet knowing how he would use the image-motif (or how often!), he amassed a stockpile of canvas pieces bearing the image of his mother's emporium – always referred to by Bowling as 'mother's house' – screenprinted in red or green. For Bowling the image clearly had a powerful emotional resonance: it would become a recurring thematic reference point, a motif that carried the allusive charge of a memory of home, a signature intimation of origins."

Mel Gooding, Frank Bowling, London 2011, pp. 35-37